MICHAEL STRAUS is a Contributing Writer for The Brooklyn Rail as well as one of its Board members. He is also Chairman of the Robert Rauschenberg Foundation and a member of the Drawings Committee of the Whitney Museum of American Art.
OCT 2018 | Art
I first met Keith Sonnier several years ago on a party ship that was hired to follow a tugboat around Manhattan as it towed the first realization of Robert Smithson’s Floating Island.
MAR 2015 | ArtSeen
Spaced at generous distances along the walls of Franklin Parraschs cleanly-renovated Upper East Side townhouse, nine of Ron Coopers lacquered Plexiglas Vertical Bars, each 8 x 3 5/8 x 3 5/8, stand guard over the mute transmission of light passing through the gallerys lavishly open space.
MAR 2013 | ArtSeen
Visitors to this years Armory Show in New York were treated to that rarest of opportunities in the current art world: free artworks.
Warhol and Rauschenberg Foundations Urge the Court in the Richard Prince Case to Take a Broad View of Appropriation Artby Michael Straus
OCT 2013 | Art
The case between the artist Patrick Cariou and Richard Prince continues to wend its way through the courts, holding both promise and risk for artists and museums and others who support the arts.
FEB 2011 | ArtSeen
Katrin Sigurdardottirs current solo exhibition at the Metropolitan Museum of Art is part of the museums continuing series featuring the work of contemporary artists at mid-careerothers in the series include Tara Donovan and Kara Walker.
APR 2010 | Art
Art mavens, hail to you, its Armory Season / And time to write rhymes without rhyme or reason.
SEPT 2010 | ArtSeen
If you needed any extra evidence that the Bush Administration lost all sense of decency in its pursuit of information believed to be hidden in the minds of terrorist suspects, then go see Jill Magids chilling installation, A Reasonable Man in a Box, curated by Chrissie Iles in the Whitney Museums first-floor gallery space.
FEB 2015 | ArtSeen
Taking its title from a line from the Neil Young song Dont Let It Bring You Down, this group show at the split-level gallery ROOM EAST is anything but a downer.
MAR 2014 | ArtSeen
After a full week of helter-skelter sprints through eye-numbing mounds of maze-like fairs blistering not only my feet but also my admittedly limited ability to grasp the myriad aesthetic sensibilities of artists young, old, and dead, I had a Keatsian moment of Pacific pure serenity when silent, within a Chelsea gallery, I stared at Nicolas Trembleys perfectly curated show, Mingei: Are You Here?
Protecting Artists and Galleries in the Wake of Hurricane Sandy: A Checklist for Artist-Gallery Contractsby Judd Grossman and Michael Straus
OCT 2013 | Art
As is well known, last years Hurricane Sandy had a devastating impact on the New York region, leaving in its wake a wide range of personal and property loss, with over 70 dead and some $50 billion in economic losses. Included in the latter are extensive, but difficult to value, damaged or destroyed artworks, as well as damaged studio and gallery spaces.
JUNE 2012 | ArtSeen
In her first solo show, N. Dash presents a body of work comprising both wall pieces and photographs, wherein she expands upon her longstanding interest in deconstructing the traditional boundaries separating image from support in painting and sculpture.
JUNE 2011 | ArtSeen
Despite Roberta Smiths gushing review of this showfinding the works stately, architectural, fairly erupt[ing] from the gallerys floorsmy own feeling was, Poor John Chamberlain, how did he fall so far?
JUNE 2010 | ArtSeen
Jill Mosers second show at Lennon Weinberg represents an expansion and development of the compression and release style that is something of her signature.
JUL-AUG 2009 | Art
This article is about a specific art object, one that bears accession number 14.130.12 at the Metropolitan Museum of Art. It has two handles, an opening at the top, and a body that bulges out from the neck and then tapers towards the bottom. It is, therefore, an amphora, but not just any amphora.